Candy Breath: A Playlist


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I just watched Chasing Amy (Dir. Kevin Smith, 1997) last night and all I can say is that I honestly believe that it depicts heterogenous relationships in a fairly accurate manner and that’s saying something, since this was first released almost two decades ago.

Also, I have a fairly pleasant Spotify playlist this week. Thought I’d share.

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Image above: Peter Kaaden

TRACK: ‘Willing & Able’ – Disclosure (f/ Kwabs)


Many are already arguing that Caracal, the follow-up to Disclosure’s massive debut record, Settle, feels like a watered-version of the Lawrence brothers’ previous work. I, myself, had mixed feelings about it. I wasn’t impressed with ‘Omen’, their much-anticipated second collaboration with Sam Smith, who was propelled to superstar status via ‘Latch’ – a definitive, career-defining hit for Disclosure and Smith. I don’t even remember the track ‘Omen’ was supposed to be a sequel to in the album. But I was particularly endeared to ‘Moving Mountains’, which featured vocals from Brendan Reilly and was premiered in Annie Mac’s BBC Radio 1 show. So far, the element that the audience came to love and the very thing that made Disclosure a household name in this generation of house music, seemed pale in comparison. I would have agreed, until yesterday.

Disclosure released the fourth track from ‘Caracal’, called ‘Willing & Able’, this time, featuring 25-year old British singer, Kwabs, who received international recognition with his 2014 hit, ‘Walk’. Kwabs reminds me a lot of James Fauntleroy and Sampha, with vocals that contrive such a compelling and intoxicating effect that made the rest bleakly fade into the background. ‘Willing & Able’ is a love song of its own caliber – not the first of its kind, definitely, but sans the wide-eyed, blithely dreamy factor.

It’s not about hope or lack thereof, not about faith or a taking leap of it, and certainly not about the irrational will to wait, plead, or of martyrdom. Nor it is about the silent distance of love and being.

It is a declarative bargain in unabated earnestness, in black and white candor. If we’re falling in love / we’re falling in love. Easier said than done, yes, and could be even foolish and at a certain point, selfish. But the entire song is full of tenacity of committing, all cards on the table, fuck the consequences, we’ll deal with this later. As a Jezebel article pointed out, the track feels like “consenting to flames.” I wish I came up with that phrase, for it encompassed this track accurately – at least to me – in three words.

If we can’t trust the love in us
There’ll be no looking back, no looking back, no

If I’m gonna fall in, I’m gonna fall my all in
If I’m gonna fall in, I’m gonna fall my all in


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This was a poem my wide-eyed, blithely naive, and deceitful 24-year old self wrote for someone for what feels like light years ago. I wrote it on my notebook and gave it to him, folded it at least four times in a futile attempt to smush my feelings and embarrassment by making it at least difficult for him to unfold what’s metaphorically layers of adoration I’ve had that I felt I was forced to come to terms with, simply because holding them – all bottled up inside – felt like a warhead that’s about to combust any given moment.

I’m not posting it out of spite (spoiler alert: things didn’t work out), but merely purging out some of the wany details of my past that I felt are safe to loiter in public domain, unattached to my memories. It just felt lighter to do so.

Also, I made this for him. Because, again, the things you do…

I wrote him (and my feelings for him) a farewell letter and made him a mixtape.

Fevered: A Playlist


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I’m rewatching Take This Waltz (Dir. Sarah Polley, 2011) and in between donuts, I’m saving this week’s playlist that Spotify expertly curated for me – based on some really excellent algorithm that I have no idea where it took. But I’m not complaining. I actually wanted NOT to write anything and just leave the images and the playlist do the talking, but just so you’re wondering – I just find it easier to supplement stuff with images nowadays. Partly because I get lazy, and… well, that’s about the sum of it.

Image: Peter Kaaden

TRACK: ‘Daydreams’ – Floating Sound Nation & Bin5 f/ Freq N Filo


Ambient producer Apex Chuidian, who goes by the moniker, Floating Sound Nation, teamed up with beatmakers Bin5 and Freq N Filo for the aptly named ‘Daydreams’. The former’s body of work encompasses textured atmospheric beats echoing the most organic sounds – whether from within or around us. A compound of both mood and instinct, Floating Sound Nation expands his auditory horizon, employing rap verses from his collaborators, not merely to accentuate, but complement its more rhythmic arrangement. Nevertheless, the result achieves an overall dystopian effect, like somewhat suspended between a dream and reality.

TRACK: ‘Ghost’ – Run Dorothy


A focal point to the new Run Dorothy track is the cohesion of the vocals to the unorthodox guitar work it so poignantly conveyed, layered carefully so as to create depth and dimension. Its fascination with atypical rhythms works peculiarly put-together, that one flimsy or out of place second will remarkably stand out. It is a song that can be liberally unforgiving to mistakes, but knows what it wants. The manner of its storytelling, lyrically and structurally, is significantly elated (and is particularly percussive), with well-placed dynamic turns and touches, which sonically expand beyond math rock category.